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2013年春拍的大幕已经落下。2013年春拍的市场行情大体不离稳中有升的主调,但简单的数据并不是市场的全貌。事实上,在看似平静的表面下,为下一轮增长的蓄力一直没有停止,其中颇有些脉络已经逐渐清晰的“暗流”值得我们关注,拍卖场中买家结构的变化就是其中之一。今年春拍买家结构变化中较为突出的一点就是新买家的介入。不同于艺术品市场曾经的几次新买家携热钱涌入,在这一市场调整期,买家介入市场已经不再是单纯的资本投机,资产配置、艺术收藏等目的使得买家进入动机更为复杂,通货膨胀、货币贬值的压力也驱使一批有产者在思考甚或在践行将他们的资本投入艺术品市场以期获得相对稳定的保障。表现在实际购买上也导致他们的投资习惯、偏好艺术品及在市场当中的地位发生了变化,对艺术品市场的整体生态体系也产生了一定影响。那么新买家从何而来,他们的内部构成是怎样的?他们如何看待艺术品市场的规则与既有价值体系?他们偏好选择哪些艺术品,又会对整体市场规则、形势产生何种影响,下文我们将一一解读。
The curtain of the 2013 Spring Auction has fallen. The market conditions of the spring auction in 2013 are generally not far from the stable tone, but the simple data is not the whole picture of the market. In fact, under the seemingly calm surface, the storage for the next round of growth has not stopped, and quite a few of them have gradually become clear. The undercurrent deserves our attention. Among the changes in the structure of buyers in the auction are those one. This spring, the buyer is more involved in the structural changes in the buyer is the new buyer. Different from the art market, where several new buyers once brought influx of hot money, in the market adjustment period, buyers are no longer purely capital speculators involved in the market. Asset allocation, art collection and other purposes make buyers more motivated For complex inflation, the pressure of devaluation also drove a group of proletarians to think or even to put their capital into the art market with a view to obtaining relatively stable guarantees. Performance in the actual purchase also led to their investment habits, preferences of art and its position in the market has changed, the overall market of art systems have also had some impact. So where do the new buyers come from? What are their internal structures? How do they view the rules of the art market and the established value system? Which artworks do they prefer to choose and how they affect the overall market rules and the situation? Below we will read one by one.